낭독하는 여자: 도로시 리차드슨의 『터널』에 나타난 청각적 자아와 정동적 경험
The Woman Reading Aloud: Modern Auditory Self and Affective Experience in Dorothy Richardon’s The Tunnel
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Dorothy Richardson’s 1919 work The Tunnel, the fourth volume of her thirteen-volume novel sequence Pilgrimage, is best known for its experimental prose style to which the term “stream of consciousness” was first applied. Due to the novel’s distinctively detailed representation of the protagonist Miriam Henderson’s constantly changing consciousness, critics have focused on introspection, egotism, and self-isolation. This essay argues that scenes of reading in The Tunnel offer a new perspective on Richardson’s portrayal of fictional selfhood. In particular, this essay discusses performative aspects of Miriam’s act of reading a book aloud to her friend, in which factors such as the rhythm of her voice and the relevant bodily experience generate a kind of affective in-between-ness, momentarily allowing for them to have a shared experience between the reader and the listener. This essay also discusses how this act of reading aloud can be associated with qualities such as responsiveness and intersubjectivity and thus function as a counterpoint to Miriam’s seeming self-centeredness. By closely looking at scenes of reading in the novel, this essay considers how acts of reading aloud can be understood as a radical form of communication, not only between self and other but also between self and the world.
Abstract
Dorothy Richardson’s 1919 work The Tunnel, the fourth volume of her thirteen-volume novel sequence Pilgrimage, is best known for its experimental prose style to which the term “stream of consciousness” was first applied. Due to the novel’s distinctively detailed representation of the protagonist Miriam Henderson’s constantly changing consciousness, critics have focused on introspection, egotism, and self-isolation. This essay argues that scenes of reading in The Tunnel offer a new perspective on Richardson’s portrayal of fictional selfhood. In particular, this essay discusses performative aspects of Miriam’s act of reading a book aloud to her friend, in which factors such as the rhythm of her voice and the relevant bodily experience generate a kind of affective in-between-ness, momentarily allowing for them to have a shared experience between the reader and the listener. This essay also discusses how this act of reading aloud can be associated with qualities such as responsiveness and intersubjectivity and thus function as a counterpoint to Miriam’s seeming self-centeredness. By closely looking at scenes of reading in the novel, this essay considers how acts of reading aloud can be understood as a radical form of communication, not only between self and other but also between self and the world.
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